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התרגומים לאנגלית נעשו באמצעות המנוע "מתרגם גוגל" והתרגום הועתק לאתר בצורתו המקורית ללא עריכה נוספת
The English translations were done using the "Google Translate" engine and the translations were copied to the site in their original form without further editing.
Notes written by Izzy Hod: Two Guitars [Gypsy Hungary], is a song that combines melody, composed by a gypsy musician and a Russian poet, who happened to be friends and the friendship led to the composition of the song. Originally, the poet, Apollon Aleksandrovich Grigoriev, called the poem he wrote, Gypsy Hungary, or, Gypsy Hungarian Woman [1857] and by that name it was sung by gypsy choirs all over Moscow and St. Petersburg of Tzarist Russia. Later, additional sections were added to the original lyrics, which did not change the appearance of the song, but gradually people began to sing the same song then called, Two Guitars, according to the beginning words of the song, and solo singers also began to sing that song. An act that was like this was in 1857, when the song was born, in the 19th century. The saying was widespread in Russia, boast with the gypsies and the saying, a Russian dies twice, once for the motherland and once when he hears a gypsy singing. At that time, every good restaurant had gypsy music and dance band and the Russian audience, who hated the gypsy life, loved the gypsy music and the gypsy dancers and visited the restaurants a lot. One of the most famous of the gypsy bands, and perhaps the most famous at the time, was the band of the gypsy musician, Ivan Vladimirovich Vasiliev. Ivan Vasiliev's friend was the Russian poet, Apollon Aleksandrovich Grigoriev, who used to visit him in every restaurant where he performed with his band. At one of these performances, during the performance, Apollon Grigoriev wrote the words to a song he named, Gypsy Hungary, or Hungarian Gypsy Woman. The poet Grigoriev, at that time, broke up with an unrequited love, Antonina Koresh, a noble daughter who preferred a famous lawyer to a poet and this event is clearly heard in the lyrics of the song and after a while he married her sister, Lydia, but fell in love again during his marriage with another woman, Leonida Wizard, who resembled a gypsy in her beauty and he was disappointed again that she married an army officer and then, Grigoriev, completed the writing of the poem, in a restaurant. Grigoriev was not a professional musician, but he knew music and even started writing it and at one point in the restaurant, he showed the song to Ivan Vasiliev and he picked up a guitar and completed the melody of the song that was later called Two Guitars. The event was in 1857. In the 60s of the 20th century, the song was translated into French [sung with great success by Charles Aznabor] and DuduTopaz continued the translation into Hebrew - it was sung with great success by Avi Toledano. The literal description of the words of the song is as follows, Beyond the wall are two guitars playing a familiar sad song. But where are you my love. In the corn fields a wind blows, the way I will go lengthens and my depressed soul longs for you, again and again. You, my guitarist, do not stop the song that fills my heart. Tonight, the moon is full, oak and cherry trees are on top of the mountain and I am in love with a Gypsy girl, over and over again. She once betrayed me, I forgave her, but then it became her daily habit. Therefore, I will drink wine until I am drunk, both today and tomorrow until my pain subsides.
https://drinking--songs-ru.translate.goog/slova-pesen/dve-gitary.html?_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc/// Two guitars. The most famous work of the Russian poet and prose writer Apollo Grigoriev begins with the line "Two guitars behind the wall are plaintively whining". The text of this poem, called "Gypsy Hungarian", acquired a musical accompaniment composed by a friend of the poet Ivan Vasilyev. Thus, Grigoryev's "Hungarian" in 1857 became a popular romance, which performed by gypsy choirs sounded in all restaurants and pubs of Moscow and St. Petersburg tsarist Russia. A little later, Grigorieva and Vasilyeva's "Gypsy Hungarian" found an independent life. One of the performers added to the chorus "Eh, once, again!.." which was absent from Grigoriev's poem. Someone supplemented "his" work with new verses. But, despite this, the romance "Two Guitars"-this is how it became known as "Gypsy Hungarian" -basically retained the lines of Apollo Alexandrovitch.
VASILIEV Ivan Vasiljevic (1810s-1870s)-outstanding gypsy musician of the 19th century, conductor of the banner of the gypsy choir, singer, guitarist and composer. It was Ivan Vasilyev, as the most talented musician, and not sons or other relatives, who gave the leadership of his choir before his death in 1848. In the 50s and 70s the choir became famous in Moscow for performing Russian songs and domestic romances in a kind of choral manner of Moscow gypsies. The performance of the songs was devoid of a hint of vulgarity, which was later acquired by the Gypsy choirs. The choir highly valued A. Ostrovsky, I. Gorbunov, AP. Grigoriev, A. Fet and others. A.N. Ostrovsky recorded a number of old Russian songs from Vasilyev; one of them, "The Baby Came, " was used by M. Mussorgsky in the opera "Khovanshchina" (Marfa's song "The Baby Came"). Vasilyev was the first to introduce ensemble singing-trios and quartets-in the choir. He was the author of popular romances and songs in everyday life and became the first Gypsy composer whose works were published: about twenty published songs by Vasilyev are known. Historian-writer M.I. Pylyaev, author of the books "Old Moscow" and "Old Petersburg", wrote about the choir of I. Vasilyev: "In the fifties Ivan Vasilyev, a student of Ilya Sokolov, appeared; he was a great connoisseur of his craft, a good musician and a fine man, who enjoyed the friendship of many Moscow writers, such as A.N. Ostrovskiy, A.A. Grigoriev, etc. Vasilyev. Gypsy choirs of Moscow and Peter-burga picked up this song, and she went to walk around the world without the name of the poet, without the name of the musician-composer, losing the words and stanzas of the poetic original, growing new words, and became a folk gypsy and folk Russian song. Here are the words of this uns printed romance: Two guitars behind the wall rang, whined, Oh motif my favorite, my old friend, are you? It's you: I recognize your move in the re-minor, and your melody in frequent busting. Chimbiryak, chimbiryak, chimbirasheki, with blue eyes, my showers!...Ivan Vasilyev himself was a good baritone, his romances at that time were a great success and were sung by all <... > Ivan Vasilyev's quartet and trio especially flourished..." (Pylyaev M.I. Old Petersburg. The reference of M.I. Pylyaev to Ivan Vasilyev as the author of the melody to the famous "Gypsy Hungarian" by Apollo Gri-Goryev is very significant, as before him in the music literature the name of the author was not disclosed. At the same time, Pylyaev, judging by his remark about this romance as "unprinted", it was not known that in 1857 "Gypsy Hungarian" was published. The history and future fate of this romance is known as follows: Apollo Grigoriev -one of the bright figures of Russian culture of the mid-19th century, poet, prose writer, re-driver, literary critic -was selflessly fascinated by the guitarist and "gypsy" (as then called passionate fans and connoisseurs of gypsy song and gypsy dance). In his youth, he learned to play the fort-piano with a famous musician and teacher and played well on this instrument, but later mastered the guitar and gave up everything for the sake of "girlfriend of the seven-stringed", with which almost did not work and on which he played with true skill. "He sang all evenings," Fet wrote. "He gave sincerity and skill of his singing a real pleasure. He actually did not sing, but as if dotted meant the musical contour of the play...His repertoire was varied, but his favorite song was "Hungarian", in which the dreary rampage of the deceased happiness broke through." It was Apollo Grigoriev who composed the poems "Oh, speak at least you are with me..." and "Gypsy Hungarian" (both poems were written by a poet in 1857). The poet's friend, Ivan Vasilyev, was a person of empathetic, able to understand and share someone else's pain: when Grigoriev read to him "Gypsy Hungarian", the musician immediately imbued with the feelings of the poet. He processed the melody of "Hungarian" and composed the famous guitar variations. So Grigoriev's "Gypsy Hungarian" became a song. Very soon it began to be performed by gypsy choirs. The second part of the song included stanzas from the poem "Oh, speak at least you are with me..." Someone composed the chorus "Eh, once, again!.." which was not in Grigoriev's poems. On the basis of this, the new "Hungarian" began to develop the scabies gypsy dance, which we call simply "Gypsy." Subsequently, "Gypsy-Hungarian" lived an independent life. That is, not by written text and not by notes, but as if by itself. Different performers included in "their" song different stanzas from Grigoriev's poems and with the same freedom complemented new verses. There were sometimes talentless and vulgar additions, but mostly variants of "Gypsy Hungarian"-now the song was called "Two Guitars"-worthy of the original. Dance "Gypsy"-a kind of monument to the Moscow life of gypsies, this guitar improvisation on a dance theme in the spirit of the traditions of tabor art remained to live in the performing practice of the best gypsy guitarists. Apollo Grigoriev himself performed his poems to his own guitar accompaniment as two different romances. Ivan Vasilyev's romances were designed for a sad half-conversation under the guitar. He himself was a master of this genre, but it was a different music than the work of his predecessor. The music columnist of the time wrote: "It is impossible not to regret the unforgettable Ilya Sokolov...And now they sing well, slenderly, often fascinatingly; but there is no such rampage, of that fire, of the hallmark of a gypsy song that sharply separates it from every other chant." Here you can see the work of time. Life has changed, the audience is different-that's gypsy art follows them, turning into a form of salon music. Shadows of past passions flash in the elegiac sound of Vasilyev's romances-"Killed Me," "Not Me To Listen," "Love of the Gypsy"-and in the beautifully dull singing of his choir. In the 1870s, Alexander Blok called the "Russian reality" a "sea of tinistic and threatening shipwreck." Since then, the authentic folk art of gypsies and variety, restaurant, domestic performance of gypsy romance has been divided more and more. On this basis there is and blossoms phenomenon associated with the decline and exaggerated song forms, which in the 19th century was called "gypsy" and in the 20th-"gypsy".
https://www-bolshoyvopros-ru.translate.goog/questions/3473553-kto-avtor-pesni-dve-gitary-za-stenoj-zhalobno-zapeli.html?_x_tr_sch=http&_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///The author of this wonderful cheerful, fervent poem is the Russian poet Apollon Alexandrovich Grigoriev. The work was written in 1857, and later set to music, which was composed by a close friend of the poet - Ivan Vasiliev. Its original name: "Gypsy Hungarian". It turned out to be the most popular melody, which very often sounded in the performance of gypsy ensembles, private popular performers. Now you can rarely hear it, and in the old days in the USSR - it sounded everywhere: in restaurants, family celebrations and on holidays on the streets.///Some time later, this poem began to acquire improvised words, which gave this romance even more authority and popularity among the people. For example, the words of the refrain: "Oh, once, again! ..", which were not in Grigoriev's poem. Here is very briefly about the history of this poem and the melody of the romance. If you wish, I propose to listen to this wonderful melody performed by the Soviet, Russian and Romanian pop singer, and finally - the People's Artist of Russia (1999) - Alla Nikolaevna Bayanova. Good mood to all!
erraguitar-net.translate.goog/forum/index.php?showtopic=3887&_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///Sent on 03 July 2009 - 19:07///Apollo with a gypsy soul///Sergey MAKEEV///Especially for Top Secret///In many Russian families it is so established: “for a friendly conversation, since the feast goes uphill”, a guitar will certainly appear, and sooner or later the famous “Gypsy Girl” will sound: Two guitars, ringing, Weepingly whined ...From childhood, a memorable melody, My old friend - are you? And the guests will pick up: Oh, once, yes again, Many more, many times!../// And, perhaps, the hostess will not sit still, she will take out a colorful shawl, lead with her shoulder and walk around the table, stamping her heels ...No, the author did not sing like that, the author, the poet Apollon Grigoriev, who composed the poems “Oh, speak at least you with me..." and "Gypsy Hungarian". From his performance, the legs did not dance. From dawn to dawn I am longing, tormented , lamenting... Finish it to me – finish the unsung song...- the poet poured out his soul, his guitar sobbed: song? Why did you yearn, suffer, what did you complain about? His father's servant. The poet was born into an unusual family. His father, Alexander Ivanovich Grigoriev, was a Moscow nobleman, and his mother, Tatyana Andreevna, was from serfs. Not often, but there were such novels: a young master fell in love with the coachman's daughter. Parents, of course, stood up as a wall - for nothing! But Grigoriev-grandfather also married a serf, "a courtyard girl, fired eternally at will."While the parents persisted, the son drank with grief, so much so that he was expelled from service in the Senate. Seeing such filial passion and his sincere grief, the parents relented. But the girl was already in the process of demolition, and it must be said that the illegitimate child of a serf woman, whoever his father was, was born a serf. And on July 16, 1822, a serf boy was born, named Apollo, a subject of his own father.///However, for every law, the Russians have a trick. The Grigorievs gave the baby to the Imperial Moscow Orphanage, the oldest charitable institution founded by Catherine the Great. There, under the canopy of the imperial eagle, each pupil from the serfs received a "promotion" to the tradesman. Soon the parents took the child from the Orphanage, and the father adopted him as expected. Apollon Grigoriev left the taxable state only after graduating from the university, but he did not become a nobleman either - he did not rise to the rank that gave the right to nobility.///Life in the Grigoriev family gradually became legalized and improved. Alexander Ivanovich entered the service of the Moscow Magistrate, and although he occupied an insignificant position, the official, even then and to this day, does not live on a salary. Apollo’s friend, Afanasy Fet, who lived in his student years with the Grigorievs on a full board basis, recalled: “His (father’s) salary, of course, was negligible at that time, and I can’t even roughly determine the size of his income. The fact is that the Grigorievs lived, if not gracefully, but in abundance, thanks to their position. The best provisions for the fish and meat table were supplied from Okhotny Ryad for nothing. I believe that the food of a pair of horses and a beautiful dairy cow, which the Grigorievs kept, also cost them nothing.///But, apparently, the shocks experienced were not in vain, at least for the mother. About once a month she fell into a nervous state: "the eyes became cloudy and wild, yellow spots appeared on the delicate face, an ominous smile appeared on the thin lips." A few days later Tatyana Andreevna came to her senses. She loved her son somehow passionately, caressed and groomed, combed his hair with her own hands, wrapped him up. In a word, Poloshenka grew up - that's how Apollo was called at home - a real barchuk, the maid Lukerya dressed and shod him until he became a thirteen-year-old undergrowth.///At the same time, the boy saw the carelessness of his parents, witnessed the drunkenness of the servants, listened in the people's room not only to beautiful folk tales and songs, but also to cynical conversations, with swearing, of course. The coachman Vasily used to get so drunk that Grigoriev the father was forced to drive the carriage himself, and even to hold the drunk so that he would not fall off the goat. The servant Ivan was not inferior to the coachman. Later, when Apollo was already studying at the university, there was such an embarrassment: Ivan, having heard enough from the students who had gathered in the house to talk about the philosopher Hegel, once at a theatrical trip instead of “Grigoriev’s carriage!” shouted to the whole square: "Hegel's carriage!" - for which he received the nickname Ivan Hegel. The French tutor hired for Poloshenka spent a long time getting stronger, and even he took to drink and somehow fell down the stairs, counting all the steps.///And yet - to the question of "from what rubbish poetry grows, not knowing shame." For a poet, even unattractive pictures and painful impressions become a precious experience. Subsequently, Apollon Grigoriev wrote: “But a lot, after all, I owe you a lot in my development, ugly, dissolute, self-serving gentry ...”///The future poet often listened to his father read old novels aloud to his illiterate wife. This is how Apollon Grigoriev was introduced to literature. Soon he himself read prose and poetry, in Russian and French, tried to translate and compose. And besides, he learned to play the piano perfectly, and later mastered the guitar. After several visits to the theater with his father, Apollo fell in love with the stage for life and became a deep connoisseur of dramatic art.///Despite the exaltation of the mother and in general domestic bondage, the unnatural state of the "philistine in the nobility", the ugly life, Apollon Grigoriev's childhood passed serenely. This serenity and some kind of childish irresponsibility will still echo in his character and fate.///“You need to take a back seat”///Of course, he wanted to study literature, but the practical father insisted that his son enter the Faculty of Law. In 1838, Grigoriev successfully passed the entrance exams to Moscow University and was enrolled as a "listener", like all young men from taxable estates. On this occasion, the dean of the Faculty of Law, Nikita Ivanovich Krylov, often repeated a pun: "listeners" are real listeners (in the sense that gentlemen, full-fledged students - nobles and young men from other privileged classes - listen half-heartedly and often miss classes).///In relation to Grigoriev, this pun was completely fair, he studied excellently. Already in the first year, he wrote a study in French, the teachers did not even believe that this was an independent work. The trustee of the university, Count S.G. Stroganov himself, summoned Grigoriev to his place and personally examined him. Convinced of the knowledge of the listener, the count remarked: "You make you talk too much about yourself, you need to take a back seat."///But it didn't work out. Grigoriev was too noticeable, talented. Even in his appearance at that time there was something romantic: “A young man with a profile reminiscent of Schiller’s, with blue eyes and with some kind of enthusiasm or melancholy subtly spilled all over his face” - this is how another poet, Yakov Polonsky, the author of the poem, described his comrade "My fire in the fog shines", which has become a popular romance. Indeed, enthusiasm was a characteristic feature of Apollon Grigoriev, and it was quickly replaced by melancholy, turning into a cruel melancholy.///Around Grigoriev, a circle of outstanding young people was formed, passionate about poetry and philosophy: the future poets Fet and Polonsky, the translator Studitsky, Nikolai Orlov, the son of the exiled Decembrist M.F. Orlov. Students gathered at the "listener" in the Grigoriev's house on Malaya Polyanka, read and discussed the works of German philosophers. It must be said that the meetings of these "wise men" could end badly - the tragic fate of the philosopher Chaadaev, the poet Polezhaev and many other dissidents in the Nikolaev era was on everyone's lips. Moreover, the young men were sometimes distracted from high philosophy and together they composed poems that were not at all harmless: Where are the examples of nationalities? Is it not at the Spassky Gates, Where, to the glory of the Russian faith, the Cossacks baptize the people?///But God had mercy, the meetings of the Grigoriev circle remained a secret for the authorities.///In the meantime, Dean Krylov was carefully looking at the capable "listener". And shortly before graduation, he invited Grigoriev to the house of his mother-in-law Sofya Grigoryevna Korsh. Not intentionally, I must say.///The fact is that the late doctor of German or Jewish origin, Fedor Adamovich Korsh, gave birth to 22 (!) Children in two marriages. By that time, the elders had already risen to their feet, but after the death of F.A. Korsh, the widow still had about a dozen unmarried children in her arms, including unmarried daughters. Only the eldest, Lyuba, recently married the jurist Krylov. So the mother-in-law instructed the son-in-law to bring worthy suitors to the house. Apollon Grigoriev was one of the first to be invited.///Darling with blue eyes///In 1842, Apollon Grigoriev saw Antonina Korsh and fell passionately in love. She was nineteen years old, she was very pretty: a swarthy brunette with blue eyes. Not a gypsy, of course, but there was something exotic about her. We recognize her features in the refrain of "Gypsy Hungarian": With blue eyes you, my darling!///Antonina Korsh received a good education at home, read a lot, played music. Then the novels of the French writer George Sand came into fashion, and Antonina was a little frivolous, imitating Georgesand's heroines. Her attitude towards Grigoriev was a kind of challenge to the young man: they say, show yourself, who are you?..///And Grigoriev... His poems of those years are a frank diary of his love. He then assured himself of Antonina’s mutual feelings and his power over her (“Over you, a secret power was given to me ...”), even suspected carefully hidden passion in her (“But until suffering and passion / We are madly equally embraced ...”) , then he suddenly realized that she did not understand him, that he was a stranger to her. In the Korsh family, everyone except his beloved annoyed him, and yet, like a convict, he came to this house every evening. He often became withdrawn, constrained, and himself admitted: “Every day I am getting dumber and dumber to the point of unbearability.” You were born to torment me -And with a kindly cold speech, And with free compulsion, And with the fact that it is difficult to understand you...And nothing that others Won't tell you, I can't tell.///Through the efforts of Dean Krylov, the Korshei living room was filled with promising young people. And among them appeared a young nobleman Konstantin Kavelin, also a lawyer, in the future one of the leaders of Russian liberalism. Reasonable and somewhat cold, he behaved freely and naturally, in a word, he was a man of the world. Apollo saw that Antonina preferred Kavelin, and his torment was intensified by furious jealousy. Grigoriev grew gloomy, and those around him believed that he was deliberately portraying a demonic personality. “Oh, how angry today,” said the hostess, Sofya Grigorievna, “how angry, how old!”///Finally, Kavelin informed Grigoriev that he was marrying Antonina. “Our view of family life is the same,” the happy chosen one confided. “And I,” Grigoriev wrote at the same time, “I know that I would have tormented her with love and jealousy ...”This drama was reflected in the “Gypsy Hungarian Woman”:What are you whining about, my Zealous heart? I saw a ring on her hand! Basan, bassan, bassana, Basanata, bassanata! You are given to another No return, no return! [Basan, bassanata - in one of the gypsy dialects means "play, play".]///Grigoriev met Antonina Korsh in 1842, when the girl was 19 years old (photograph from the 1840s)./// It's good that the final exams fell on the relatively serene period of Apollo's love for Antonina Korsh. Grigoriev received a candidate's degree, a university diploma excluded him from the bourgeois class. Moreover, a brilliant graduate was offered a position as a librarian, and eight months later he became the secretary of the University Council.///But very soon it became clear that Apollon Grigoriev was completely incapable of methodical work, to put it simply, he was characterized by typical Russian slovenliness. In the library field, he nonchalantly distributed books to numerous friends and his beloved, of course, without registering, so that later he did not know who to look for and how to return. As a secretary, he did not keep minutes; in general, he skimped on paper and bureaucratic work. In addition, the impractical poet has already managed to make debts. In a word, he got bogged down, confused both in his personal life and in the service. And then Apollon Grigoriev decided to run away until the thunder of his superior anger struck. He asked for a vacation in St. Petersburg, and there - what God will give!///With this departure, the wandering, partly gypsy life of Grigoriev began. No wonder he called his autobiographical notes, unfortunately unfinished, "My literary and moral wanderings."///And another blue-eyed darling///Apollon Grigoriev, returned to Moscow three years later as a well-known poet. Although only one book of his poems was published during his lifetime, and even that was only 50 copies, this was made up for by constant magazine publications. Grigoriev was better known as a literary critic, and in the late forties he became the leading theater critic in Russia. In the auditorium, he literally forgot himself and reacted so violently that the actors joked: “What kind of theater, from which Apollo was taken out?”///Cold and prim St. Petersburg forever remained a stranger to the poet. By the way, he owns the most accurate description of the difference between the two capitals: St. Petersburg is the head, and Moscow is the heart of Russia. Leaving for Moscow, Apollon Grigoriev wrote: Farewell, cold and impassive, Magnificent city of slaves, Barracks, brothels and palaces, With your purulent clear night, With your terrible coldness To the blows of sticks and whips...///Three years is enough time to forget the former passion. But where do you think the poet went shortly after returning to Moscow? To the house of Korshey. Love still smoldered in the depths of the heart. And then Apollon Grigoriev did a very strange act: he proposed to Antonina's younger sister, Lydia Korsh, and, one might say, suddenly married her.///Lydia could not compare with Antonina either in beauty, or intelligence, or erudition. She squinted a little, stuttered a little, in general, according to one of the family friends, she was "worse than all the sisters - stupid, with pretensions and a stammer." It is clear that this marriage made her unhappy, and Grigorieva even more unhappy than before. But, apparently, the poet inexplicably needed this new suffering, as if he wanted to "wedge with a wedge" to knock the old pain out of his heart.///Discord in the young family began almost immediately. Lydia Fedorovna did not know how to run a household at all and was not at all created for family life, and her husband even more so. Subsequently, Apollon Grigoriev accused his wife of drunkenness and debauchery, alas, not without reason. But he himself was not an example of virtue, he used to go on a spree. However, such liberties were forgiven for husbands, but not for wives. When the children appeared, two sons, Grigoriev suspected that they were "not his." In the end, he left the family, sometimes sent money, however, not often, because he himself was always in debt. Once the couple reunited and lived together for several years, but then they parted again, forever.///During this period of reunification, in the early 1850s, Apollon Grigoriev taught jurisprudence at the Orphanage. In the same charitable institution where his parents placed him immediately after birth. Among his colleagues, Yakov Ivanovich Vizard, a supervisor and teacher of French, enjoyed universal respect. His father came to Russia from Switzerland in the 18th century. According to his position, Yakov Ivanovich was provided with a state-owned apartment at the Orphanage, where teachers often came easily. In addition, Vizard's wife kept a private boarding house in a rented house on Bolshaya Ordynka. Friends and relatives often gathered there. Soon, Apollon Grigoriev became a regular guest at Ordynka. There he met his new love - a very young Leonida Vizard. I fell in love in Grigoriev's way, that is, passionately and recklessly.///Unfortunately, no portraits of Leonida Yakovlevna Vizard have been preserved. But her younger sister described her in some detail: “Leonida was remarkably graceful, pretty, very smart, talented, an excellent musician. Beautiful, thick, even with a bluish tint, like a gypsy, hair and big blue beautiful eyes ... It is not surprising that Grigoriev was carried away by her, but it is surprising that he did not try to hide his adoration. Her mind was very lively, but her character was restrained and cautious. Grigoriev often with annoyance called her "Puritan".///Apollon Grigoriev was fifteen years older than the subject of his passion, and besides, he often visited the Vizards with his wife Lidia Fedorovna. But he was not denied the house. Maybe because there was no brighter, more talented and kinder person in the environment of the Wizards, and all the youth were drawn to him. Student I.M. Sechenov, in the future a famous physiologist, recalled: “A kind, intelligent and simple person in essence, despite some manner of mephistophelism. He brought a lot of animation to the Sunday evenings of the Vizards with his nervous, lively speech and could not help but like us, especially since, being much older than us in years, he behaved with us in a comradely manner, without any pretensions.///And then, like ten years ago, a rival appeared - a retired officer, a nobleman, a Penza landowner Mikhail Vladykin. A theater regular and amateur playwright, he spent the winter in Moscow, where he met Leonida Yakovlevna. Young people fell in love with each other, and soon the engagement took place.///Apollon Grigoriev was furiously jealous, for a long time he could not believe that it was all over. And when he believed, he went to work with his head. The poet collected new poems, added to them somewhat modified poems of the "Korshevsky" period and compiled a large cycle of 18 poems called "Struggle". The thirteenth poem "Oh, talk to me at least..." and the fourteenth - "Gypsy Hungarian" became the culmination of the "Struggle".///The poem "Oh, speak at least you with me ..." resembles a romance. And "Gypsy Hungarian" is akin to a folk song. Gypsy choirs during these years already performed the incendiary dance "Hungarian", a gypsy version of some kind of Magyar dance, possibly a szardash. The melody "Hungarian", the prototype of the future "Gypsy", consisted of two or more parts, performed at different tempos. Therefore, the stanzas of the “Gypsy Hungarian Woman” by Apollon Grigoriev are written in different rhythms.///There was only one step left before the creation of the song.///The fascination of Russian poets, writers and musicians with gypsy singing and dancing, in general with the gypsy theme, began in the Pushkin era. Later, going to the gypsies became a fashion, even merchants went. But Grigoriev loved gypsies not out of fashion, but "according to the kinship of a vagabond soul." They say that a Russian person dies twice: the first time - for their homeland, the second - when listening to gypsies. Apollon Grigoriev wrote: “You want an expression for this indefinite, incomprehensible dreary melancholy - you will rush to the gypsies, rush into a hurricane of wild, strange, languidly strange songs, dissolving the Russian soul in full swing ... "The poet dissolved in the gypsy element, he knew the customs and art of the gypsies, collected and performed their songs, even learned to speak a little gypsy. He often put on a red shirt-kosovorotka, tucked his plush trousers into slouchy boots, threw a coat over his shoulders and went to the camp - then nomadic gypsies pitched tents right behind the Serpukhov outpost. There, Grigoriev was known and accepted as a true "Romane Chavo" - a gypsy guy. Or he went to Maryina Grove, where several gypsy choirs lived and performed in front of the guests in unsightly little houses. But most often, Apollon Grigoriev visited the choir of Ivan Vasiliev in Georgia.///An outstanding gypsy musician - choreographer, composer and guitarist - Ivan Vasiliev was a student of the famous Ilya Sokolov. The same Sokolov about whom Pushkin wrote: Grigoriev in the mid-1850s. Fascinated by the art of the gypsies, during these years he wrote his masterpiece: “The Gypsy Hungarian Woman.” So the old grunt of the gypsies, Ilya, Moves his shoulders in harmony, Looks at the dancing prowess Yes, scratches his gray head. [It is believed that the song “Sokolovsky choir at Yar” and the romance “Hey, coachman, drive to Yar!” are about the choir of “that same” Ilya Sokolov. This is a mistake, because then there was no Yar yet the choir of another representative of the glorious Sokolov dynasty, Fyodor, performed in the Yar and Strelna restaurants much later, in 1860-1870].And the old man Ilya Sokolov, before his death in 1848, handed over the leadership of his choir not to his sons or other relatives, but to Ivan Vasilyev as the most talented musician. Vasiliev was the first to introduce ensemble singing in his choir - trios and quartets, became the first gypsy composer whose works were published, about twenty of Vasiliev's published songs are known.///Apollon Grigoriev was friends with Ivan Vasiliev and knew the other members of the choir well. And the personalities there were remarkable. For example, no one called one singer by name, but only by his nickname - Turpentine Kuporosych - for his love of strong drinks. But he was appreciated in the choir, because, as they say, you can’t drink away mastery.///Once Grigoriev wanted to introduce his friend Afanasy Fet to the gypsy art and began to call him to Georgia, to Vasiliev, to listen to the famous soloist Stesha. “Now she is in love with a hussar,” said Grigoriev, “but the hussar does not have the money to buy her back from the choir. The poor thing is in such anguish, but if she sings ... Love for the singer is the same music!///The next day, Grigoriev went for a friend and was in a jacket, "with a guitar under the skirt." Let's go to Georgia. Stesha was sitting by the window in the guest room, Ivan Vasiliev with her. Friends began to persuade Stesha to sing, but she still refused. Then Grigoriev started talking about something else, and he himself began to play the guitar, then hum, Vasiliev echoed him. Finally Stesha sang, but how! According to Fet, “she was carried away into her songs ... When she sang: Remember, remember, my dear, Our former love -a barely noticeable tear sparkled on her dark eyelash. How much bliss, how much sadness and beauty were in her singing!///Ivan Vasiliev was a true friend and a sensitive person, able to understand and share someone else's pain. When Grigoriev read The Gypsy Hungarian Woman to him, the musician was immediately imbued with the feelings of the poet. He processed the melody of "Hungarian", composed the famous guitar variations. So Grigoriev's "Gypsy Hungarian" finally became a song. Very soon, gypsy choirs began to perform it. The second part of the song includes stanzas from the poem "Oh, at least you talk to me ...". Someone completed the chorus "Oh, once, again! ..", which was not in Grigoriev's poems. On the basis of this new “Hungarian dance”, a gypsy tap-dance began to develop, which we simply call “Gypsy”./// Poet's happiness “Wanderings”, “wanderings” are key concepts in the fate and in the work of Apollon Grigoriev. Some fatal restlessness was his eternal companion. In Moscow, in St. Petersburg, in Italy, in Siberia - he did not take root anywhere, wandered around rented apartments, running away from misfortunes and creditors. But they always overtook him. Grigoriev either littered with money, like a vagrant merchant, or sat in a debt hole. Sometimes he drank, and he drank a lot. And he did not hide it himself: However, chilly... Hearts of pain As if subsided... Vodka or what?///His heart was never warmed by reciprocal love. In recent years, he got along, in his own words, with the "priestess of love." A woman with a crippled soul and a man with a wounded heart - why did they get together, who knows? Sometimes there was nothing to eat. When their child was born, it was cold in the room - there was no firewood, the mother's milk was gone. The baby died. Soon they dispersed, but Grigoriev felt sorry for the unfortunate woman and asked his friends: ...If you have to meet her fallen, poor, Thin, sick, broken, pale, In the name of my sinful Give her at least a copper penny ...///The lawful wife Lydia Fedorovna was supported by the Korshey family, Konstantin Kavelin, the very happy rival, paid for the studies of her sons ... Lydia Fedorovna herself was forced to become a governess. And once, unfortunately, while drunk, she fell asleep with a lit cigarette and did not wake up ...///Was Apollon Grigoriev ever happy? Was. In creativity. Is it not happiness to compose a song that will be immediately picked up and sung? And Grigoriev became famous during his lifetime not only as the “Gypsy Hungarian”. His article "On Ostrovsky's comedies and their significance in literature and on the stage" for the first time announced to his contemporaries the birth of the national Russian theater. Another famous article of his, "A Look at Russian Literature after the Death of Pushkin," for the first time determined the significance of the national genius not only in the past tense, but also in the present and in the future. It was Grigoriev who wrote: "Pushkin is our everything." As a poet, Grigoriev stands in the literature of that period on a par with his friends Polonsky, Ogarev and Fet, and the lyrical cycle "Struggle" is comparable to the works of Tyutchev and Nekrasov. At the beginning of the 20th century, the poetry of Apollon Grigoriev was highly appreciated by Alexander Blok. ///Grigoriev was also happy in friendship. In addition to the friends already mentioned, he was proud of his friendship and cooperation with Ostrovsky, Turgenev, the Dostoevsky brothers and many other writers, artists and musicians.///And in life - a miserable person. In June 1864, in St. Petersburg, Apollon Grigoriev landed in a debtor's prison for the second time. In a letter to his freedom, he complained that he could not work: “Not to mention intolerable food and lack of tobacco and tea - with debt all around, can you think of anything?” Two months later, he was bought out by a mediocre writer, to whom he promised to edit some essays. Apollon Grigoriev lived in freedom for only four days - on September 28, 1864, he died of an apoplexy, as a stroke was then called.///He was buried in the ground of the unloved city. There were several familiar writers and artists on the wires. And a large group of strange strangers in rags - Grigoriev's neighbors in the debtor's prison.///And the "Gypsy Hungarian" lived an independent life. That is, not according to the written text and not according to the notes, but as if by itself. Different performers included different stanzas from Grigoriev's poems in "their" song and supplemented them with new verses with the same freedom. There were sometimes mediocre and vulgar additions, like: “I had a wife, she cheated on me ...” But basically, the versions of “Gypsy Hungarian” - now the song was called “Two Guitars” - are worthy of the original.///During the Soviet period, "Two Guitars" was practically not performed from the stage. It can be seen that the comrades from the repertoire committees knew only the “table” version of this song, and therefore they “did not let it go”. And abroad it was sung mainly in Russian restaurants. There was a lot of "gypsyism", bad taste, but there were also outstanding authors and artists.///Older people remember the potpourri on the themes of gypsy songs and romances from the movie "His Butler's Sister" performed by Deanna Durbin. A fragment of the song “Two Guitars” sounds there: Why, why are there teardrops in your eyes? It's simple, nothing -For love wake!///Abroad, no one could sing "Two Guitars" better than the old St. Petersburg gypsy Alyosha Dmitrievich. Along with love longing, he brought nostalgia to the text and performance: Field, wind, lights, Long road. My heart aches from anguish, And anxiety in my soul.///Separate lines and images of Dmitrievich were used by Charles Aznavour in his excellent song “Two Guitars” in French, only the chorus sounds in Russian, with an accent: “Ezcho times! ..” Aznavour sings as if about gypsy-Russian nostalgia, but all one can still hear in his song the anguish of Armenian exile. True, bright instrumental variations on the theme of "Gypsy Hungarian" appeared, however, less often. At the end of the 19th century, the virtuoso guitarist Fyodor Ivanovich Gubkin performed in the St. Petersburg gypsy choir. When Gubkin grew old, he moved to the back row in the choir. The youth believed that he didn’t even know how to play, and that he held the guitar “for force”. One day, Prince Kochubey came to the gypsies with a large company - they wanted to record the "Gypsy Hungarian" performed by Gubkin on a phonograph. “Sorry, I haven’t played for 60 years!” Gubkin refused. Then the prince knelt before the old gypsy: “Well, how can you, Uncle Fedya!” The gypsy cried. And then he said to the best guitarists of the choir: "Come on, play along with me." And played. “I almost went crazy when I heard the old man play,” recalled one gypsy artist. “Neither then nor since have I heard such a game.” On the same evening Fyodor Ivanovich Gubkin died, apparently When Vladimir Vysotsky was in Paris, Marina Vladi introduced him to Alyosha Dmitrievich. We sat in the artist's room above the restaurant. Two guitars rang out, Dmitrievich began the verse, Vysotsky picked it up. During this performance, Vysotsky began to improvise: I am across the field, along the river, Light is darkness, there is no god! And in the open field of cornflowers, Long road. After this meeting, "My Gypsy" by Vladimir Vysotsky was born.
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